Frustrated by a lack of informed and honest review websites covering a wide range of electronic music, I write them myself.

Monday, November 17, 2014

Various - Passages: Framed By Nova

Ultimae Records: 2014

Mr. Nova – or Massimo Terranova, if you want to get fancy with him – first became involved with Ultimae about a decade ago, though not in any capacity most would notice. He often serves as the label’s PR man, and does the DJ circuit when called upon, deferring the limelight to producers and other folks about the Lyon offices. Occasionally he’s contributed a compilation or two to the Ultimae library, though unlike Mahiane, hasn’t settled upon any specific theme. The first was titled Albedo, the second Imaginary Friends, and this most recent one is called Passages. So… the reflective lights of ghosts will take us places? Yeah, no. These are all self-contained CDs, singular compilations that I guess Ultimae is obligated to put out at least once per year now that Fahrenheit Project is tripping the light retired.

Or maybe Nova just wanted his say on Ultimae’s ‘gray period’ before they moved on to another phase. At least, I’m assuming the label’s moving on from it soon, as their last couple releases have been quite colourful in comparison to most of 2013’s output. As Passages came out earlier in 2014, it would make a fitting conclusion to this chapter in Ultimae’s history – like, taking a passage from where they were to where they’re going, yes? I’ll stop worming significance into the title now.

So this CD has the usual assortment of familiar and outside talent making up the track list. James Murray pops back up, as does Lars Leonhard, Cygna and Cell, giving a rub on his Connect.Ohm project. Aes Dana naturally contributes, and it couldn’t be a ‘gray period’ Ultimae compilation without music from Miktek and Fingers In The Noise. Murya, who appeared on the prior Nova collection Imaginary Friends, gets a new track in, while Max Million pops up too. I haven’t seen the names Brando Lupi, Martin Nonstatic, or Zinovia before, but Lord Discogs tells me they’re raising talents modern chill's growing list of producers.

Right, the actual music. There’s little surprising on Passages, if I’m honest, but all of it remains totally class as Ultimae continuously is wont to do. The general style Nova’s curated here is minimalist, dubby ambient techno, with touches of modern classical piano and orchestral flourishes for good measure. It isn’t as pretentious as I’ve probably made it sound. I guess it wouldn’t help matters if I added ‘glitch’ to that description too? I mean, what else can I call Cygna’s Whitin? That rhythm is so restrained and clicky, it’d make Mille Plateaux say, “yo, beef that bass”; lovely cinematic swells, though.

The highest praise I can give Passages is, should you somehow have ignored Ultimae for this long (a near-impossibility if you’ve been reading this blog for any length of time, but bear with me), this is a good jumping-on point. It doesn’t tell their whole story, but effectively portrays the sound they’ve cultivated their last couple years. I’d expect nothing less from their resident PR man.